Emily Harmon,
Mezzo-Soprano
ANNOUNCEMENTS
SEPTEMBER 2024:
Emily will make her mainstage debut as Mrs. Cripps (Little Buttercup) in H.M.S. Pinafore with Winter Opera St. Louis.
JANUARY 2024:
Emily will return to the Glimmerglass Festival as a Young Artist for the summer of 2024, where she will appear as Doris in Elizabeth Cree, Ruth (cover) in The Pirates of Penzance, and Ruthie/Shamana #3 in the Pipeline Preview performance of The House on Mango Street.
SEPTEMBER 2023:
Emily has joined the roster of Atwater Reed Artists.
AUGUST 2023:
Emily will be a Herndon Foundation Emerging Artist with Virginia Opera, where she will make her company and role debuts as Berta in Rossini's The Barber of Seville and cover Suzuki in Madama Butterfly.
MARCH 2023:
Emily will be a Young Artist with the Glimmerglass Festival for the 2023 season.
FEBRUARY 2022:
Emily has been named a Semifinalist in the 2022 Annapolis Opera Vocal Competition.
AUGUST 2021:
Emily is a finalist for the Jette Parker Young Artists Programme at the Royal Opera House at Covent Garden.
UPCOMING EVENTS
RECENT EVENTS
DECEMBER 2024
Handel: Messiah (Alto soloist)
Westborough, MA
NOVEMBER 2024
H.M.S. Pinafore (Little Buttercup)
St. Louis, MO
JULY–AUGUST 2024
Elizabeth Cree (Doris/Witness #3)
The Glimmerglass Festival
Cooperstown, NY
JULY–AUGUST 2024
The Pirates of Penzance (Ruth cover/ensemble)
The Glimmerglass Festival
Cooperstown, NY
AUGUST 2024
Pipeline Preview: The House on Mango Street (Ruthie/Shamana #3)
The Glimmerglass Festival
Cooperstown, NY
AUGUST 2024
Horizons: Tara Erraught in Concert with 2024 Young Artists (soloist)
The Glimmerglass Festival
Cooperstown, NY
MARCH 2024
Madama Butterfly (Suzuki cover)
Norfolk, Fairfax, and Richmond, VA
NOVEMBER 2023
The Barber of Seville (Berta)
Norfolk, Fairfax, and Richmond, VA
F E A T U R E D R E V I E W S
Elizabeth Cree (The Glimmerglass Festival):
"Elizabeth begins her escape from poverty by first getting a job as a prompter at the Music Hall, where other on- and backstage denizens include [...] Doris (Emily Harmon, showing off a Horne-like, rock solid mezzo in all registers)."
H.M.S. Pinafore (Winter Opera St. Louis):
"Buttercup is a most charming role. She’s a vendor of notions—tobacco, scissors, ribbons, chickens, rabbits, sausages, candy—plying her trade around all the ships in port. And she owns A VERY OLD and vital secret! Emily Harmon sings the role astonishingly well. She has a wonderful sense of comedy. Her diction and projection are so utterly perfect that every syllable is distinct and clear. She makes it so easy for us to harvest all that humor with which Gilbert has richly seeded his lyrics."
H.M.S. Pinafore (Winter Opera St. Louis):
"In another fine WOSTL debut, mezzo Emily Harmon has given the role of Little Buttercup (whose Deep Secret is one of the most shamelessly ludicrous examples of Gilbert’s “topsy-turvy” plot devices) a lively sense of playfulness, particularly in her “Things are seldom what they seem” duet with Lassetter in Act II."
H.M.S. Pinafore (Winter Opera St. Louis):
"Mezzo-soprano Emily Harmon is a hoot as the good-natured Little Buttercup, who has a secret or two up her sleeve..."
Candide (The Glimmerglass Festival):
"I do need to give a shout-out to [Emily Harmon and Amanda Sheriff,] the two uncredited but massively scene-stealing performers who played the sheep."
-Bachtrack.com
The Dangerous Liaisons (Boston Opera Collaborative):
“Emily Harmon's seductive, duplicitous Merteuil delivered the most rewarding performance; she shaped her recitative phrases with authority and displayed good comic timing.”
-The Boston Musical Intelligencer
The Scarlet Ibis (Boston Opera Collaborative):
“Emily Harmon also provided a wonderful voice to Brother’s superstitious Aunt: her tone color was perfect for the whole role, whether it be for her full hopeful use of the upper register, or the deep sounds of her low register for the more ominous parts of the role.”
-Schmopera
"As the boys’ pious aunt, mezzo soprano Emily Harmon delivered several comic lines with sharp timing that briefly eased the tension. Yet her trancelike prediction of Doodle surviving through infancy and her other foreshadowing statements left their mark at key points throughout the opera."
-Boston Classical Review
Xerxes (Pittsburgh Festivl Opera):
“Emily Harmon, as Amastre, displayed her velvety mezzo-soprano voice to its best advantage in the more sustained passages of the last act.”
-onStage Pittsburgh (formerly Pittsburgh in the Round)
The Marriage of Figaro (Boston Opera Collaborative):
“Emily Harmon... ended up stealing the show with a Marcellina that starts off rather ridiculous but ends up being the rational core of the show in a strange way.”
-Schmopera
Come, Ye Sons of Art, Z.323 (Handel+Haydn Society):
“Emily Harmon, mezzo [was] lovely in the opening lines..."
-The Boston Musical Intelligencer
The Beautiful Bridegroom (MassOpera):
“Emily Harmon as the matchmaker Madame Kirsten, possessed a smooth vocal quality perfectly suited to her conniving character.”
-The Theatre Times
Hyacinth Curl World Premiere (Hub New Music):
“The world premiere of ‘Hyacinth Curl’ was exceptionally transporting. The voices of [Adrienne] Arditti and mezzo-soprano Emily Harmon swooned in the sinuous but sparse lines of a Sufi devotional poem, overlapping and swelling into rapturous harmony before joining at last in unison. Occasional arresting peals from the singers’ handbells provided the only accompaniment.”
-The Boston Globe
“Arditti and Emily Harmon (another guest joining Hub [New Music] for this concert) blended beautifully, achieving a restrained but effective aesthetic seduction.”
-The Boston Musical Intelligencer
Dark Sisters (Boston University Fringe Festival):
"Emily Harmon carried most of the opera’s dramatic pull in the tragic role of Ruth. The death of Ruth’s two children as well as her role in driving Eliza from the faith gnawed at her conscience until her death. Harmon’s mellow voice lent tenderness to the anguished phrases of the guilt-plagued victim."
-Vent Wing (formerly Examiner.com)
N E W S
September 2024
Emily will make her debut with the Boston Civic Symphony in April 2025, where she will sing the mezzo solo in Beethoven's Symphony No. 9.
September 2024
This October, Emily will make her mainstage and role debuts as Mrs. Cripps (Little Buttercup) in H.M.S. Pinafore with Winter Opera St. Louis.
August 2024
Emily will appear as a soloist in Horizons: Tara Erraught in Concert with 2024 Young Artists at the Glimmerglass Festival.
March 2024
Emily will perform Ruthie/Shamana #3 in the Pipeline Preview workshop and performance of The House on Mango Street with the Glimmerglass Festival.
January 2024
Emily will be a Young Artist with the Glimmerglass Festival for the 2024 summer season, performing Doris in Elizabeth Cree and covering Ruth in The Pirates of Penzance.
September 2023
Emily has joined the roster of Atwater Reed Artists.
August 2023
This November, Emily will make her debut with Virginia Opera as Berta in Il barbiere di Siviglia and cover Suzuki in Madama Butterfly.
March 2023
Emily will be a Young Artist with the Glimmerglass Festival for the 2023 season.
February 2022
Emily is a semifinalist in the Annapolis Opera Vocal Competition.
August 2021
Emily is a finalist for the Jette Parker Young Artists Programme at the Royal Opera House at Covent Garden.
April 2021
Emily is a Tier I semifinalist in the 2021 James Toland Vocal Arts Competition.
November 2020
Emily has won Third Place in the 10th Annual Mildred Miller International Voice Competition.
October 2020
Emily is a finalist in the 2020 Mildred Miller International Voice Competition and will be featured in the virtual Finals Concert on November 6, 2020.
June 2020
Emily is joining the roster of Opera on Tap (Boston) and appear in their virtual 2020-21 season.
June 2020
Emily will appear in Music and Martinis, a virtual summer variety show with Seaglass Theater Company, and will perform an assortment of arias, musical theatre songs, and folk music.
November 2019
Emily will make her role debut as Mrs. Lovett in Sweeney Todd: The Demon Barber of Fleet Street with Lowell House Opera in the spring of 2020.
October 2019
Emily will return to Boston Opera Collaborative in February 2020, singing Marcellina in Le nozze di Figaro.
December 2018
Emily will join Central City Opera as a Bonfils-Stanton Foundation Apprentice Artist for their Summer 2019 season, where she will cover Suzuki in Madama Butterfly.